THE ANSWERING MACHINE, directed by the promising José Cortés, is an intense and claustrophobic journey into the mind of a young Berlin opera singer, trapped between her family’s expectations, the relentless demands of the operatic world, and the darkest corners of her own psyche. Within a tightly paced 90-minute runtime, the film transforms what initially appears to be a simple story about the pursuit of perfection into a profound exploration of identity, insecurity, and artistic obsession.

The screenplay, co-written by Cortés alongside Juliane Gabriel and Steffen Kuester, weaves a narrative in which music itself becomes a central character: at once a source of beauty and an instrument of torment, within a house that turns into a claustrophobic representation of the protagonist’s mind. Ivon Mateljan, in the role of Julia, delivers a performance that is both vulnerable and intense, conveying the character’s inner conflict with remarkable subtlety. Her performance highlights not only her talent and intensity as an actress, but also her skill as an operatic singer. Through their voices, Thomas Quasthoff and Friedrich Richter provide strong supporting performances, enriching the story with emotional depth and powerful symbolic resonance.

The color palette—dominated by shades of blue, grey, brown, and black—developed through the cinematography by Dennis Lubig, the production design by Olivier Burkhardt, and the costumes by Linda Rodenheber, ensures visual coherence with the protagonist’s emotional state and the film’s overall atmosphere.
The cinematography in particular, with its strong contrasts, transforms each frame into a meticulously composed visual tableau, amplifying both the psychological intensity and the aesthetic appeal of the film.

The film’s greatest strength lies in its ability to make the intangible tangible. Julia’s inner tension is rendered through a combination of carefully framed close-ups, oppressive silences, and an innovative use of sound as a narrative device. Cortés demonstrates rare sensitivity, portraying the fragility and complexity of his protagonist without ever slipping into melodrama.

Despite a modest production budget of €25,000, the film achieves a polished and professional visual quality, highlighting Cortés’ ability to transform financial limitations into deliberate artistic choices in service of the story. The pacing is measured yet relentless: each sequence pushes Julia further toward psychological unraveling, culminating in a cathartic resolution that leaves the audience both unsettled and deeply moved.

THE ANSWERING MACHINE  is a bold and confident debut, a refined meditation on the intersection of music, identity, and mental fragility. For audiences seeking a powerful, auteur-driven cinematic experience, the film offers an intense, disturbing, and ultimately poetic glimpse into the mind of a young artist consumed by her own sound.

For all these reasons, the film won Best Feature Film, Best Director – Feature Film, Best Actress – Feature Film, and Best Original Score at the September 2025 edition of the Amsterdam New Cinema Film Festival Monthly Competition.

​

José Cortés was born in Puerto Rico and graduated from the Ofelia D'Acosta Acting Academy as well as the Escuela Central de Artes Visuales in San Juan. He studied Spanish literature at the University of Puerto Rico and gained a wide range of artistic experience in dance, theater, and film.

His path then led him to Berlin, where he completed both a bachelor's and a master's degree in opera directing. He worked as an assistant director at institutions such as the Deutsche Oper Berlin, the Staatsoper Berlin, and the Opera Graz. He also took part in seminars and directing workshops with Tatjana Gürbaca, Claus Guth, Hans Neuenfels, Nadja Loschky, and Katharina Wagner.

His directing credits include Tosca, La Bohème, Così fan tutte, Die Fledermaus, La Calisto, the world premiere of Lòvelease, and the inaugural Festspielnacht am Goldbergsee featuring orchestra and soloists from the Bayreuth Festival.

​